Barnes & Noble Classics The Pilgrims Progress 天路历程 ISBN=9781593083724pdf/txt下载_在线阅读全文

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　　The Pilgrim's Progress, by John Bunyan, is part of the Barnes Noble Classics series, which offers quality editions ataffordable prices to the student and the general reader, includingnew scholarship, thoughtful design, and pages of carefully craftedextras. Here are some of the remarkable features of Barnes Noble Classics:
New introductions commissioned from today's top writers andscholars Biographies of the authors Chronologies of contemporaryhistorical, biographical, and cultural events Footnotes andendnotes Selective discussions of imitations, parodies, poems,books, plays, paintings, operas, statuary, and films inspired bythe work Comments by other famous authors Study questions tochallenge the reader's viewpoints and expectations Bibliographiesfor further reading Indices Glossaries, when appropriateAlleditions are beautifully designed and are printed to superiorspecifications; some include illustrations of historical interest.Barnes Noble Classics pulls together a constellation ofinfluences—biographical, historical, and literary—to enrich eachreader's understanding of these enduring works.

The Pilgrim's Progress, by John Bunyan, is part of the Barnes
& Noble Classics series, which offers quality editions at
affordable prices to the student and the general reader, including
new scholarship, thoughtful design, and pages of carefully crafted
extras. Here are some of the remarkable features of Barnes &
Noble Classics: 
New introductions commissioned from today's top writers and
scholars Biographies of the authors Chronologies of contemporary
historical, biographical, and cultural events Footnotes and
endnotes Selective discussions of imitations, parodies, poems,
books, plays, paintings, operas, statuary, and films inspired by
the work Comments by other famous authors Study questions to
challenge the reader's viewpoints and expectations Bibliographies
for further reading Indices & Glossaries, when appropriateAll
editions are beautifully designed and are printed to superior
specifications; some include illustrations of historical interest.
Barnes & Noble Classics pulls together a constellation of
influences—biographical, historical, and literary—to enrich each
reader's understanding of these enduring works. 
　　Faith, Hope, Mercy, Envy, Ignorance, Guilt: These are not
abstract concepts, but the names of vividly imagined, sharply drawn
human characters encountered by Christian, the hero of The
Pilgrim’s Progress. In John Bunyan’s seventeenth-century allegory
of the soul’s search for salvation, each step along the way becomes
a dramatic rendering of an inner state of the human psyche. As
Christian journeys from “the wilderness of this world” to the glory
of the Celestial City, he confronts a seemingly endless array of
temptations, threats, and dangers, including the nearly
irresistible allure of material splendor at Vanity Fair; the
crushing psychological burden of depression and despair in the
Slough of Despond; and the fear and uncertainty that eats away at
faith in Doubting Castle. 
　　This edition includes both the first and second parts of The
Pilgrim’s Progress, which collectively reflect the feverish
intensity of Bunyan’s religious beliefs. What remains significant
is Bunyan’s ability to transform this intensity into an allegory
that speaks to people of all faiths and all eras. 
　　David Hawkes is Associate Professor of English at Lehigh
University. His books include Idols of the Marketplace (2001) and
Ideology (second edition 2003), and he has contributed articles to
The Nation, the Times Literary Supplement, and the Journal of the
History of Ideas.

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目　　录

List of Illustrations
The World of John Bunyan and
The Pilgrim's Progress
Introduction by David Hawkes
THE PlLGRIM'S PROGRESS
The First Part
The Second Part
Endnotes
Inspired by ThePilgrim's Progress
Comments & Questions
For Further Reading

……

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　　To understand fully The Pilgrim’s Progress, we must rememberthat it was written in prison. Imprisonment is its major theme, andescape from prison is its primary purpose. Although Bunyan waswithout a doubt incarcerated in the literal, physical sense whilehe composed his work, he did not believe that he was truly in jail.He was convinced that, as Richard Lovelace had written in “ToAlthea, from Prison” (1642), “Stone walls do not a prison make, /Nor iron bars a cage,” andBunyanechoed the sentiment in his own“Prison Meditations” (1665; quoted from The Works of John Bunyan,edited byGeorgeOffor,vol. 1, p. 64; see “For FurtherReading”):
　　I am, indeed, in prison now
　　In body, but my mind
　　Is free to study Christ, and how
　　Unto me he is kind.
　　For though men keep my outward man
　　Within their locks and bars,
　　Yet by the faith of Christ I can
　　Mount higher than the stars.
　　As far as Bunyan was concerned, the real prisoners were outsidethe walls, in the world. The Pilgrim’s Progress aims to establishtwo deeply counterintuitive propositions: that its author is not injail, and that its readers are. But while Bunyan argues that theworld is the prison of the soul, he also offers us a way to escapefrom the world. The book’s subtitle, From This World to That WhichIs to Come, indicates our ultimate destination, but the world “tocome” is to be reached by a way not measurable in space or time.The pilgrim’s progress is not a literal journey along a physicalroad, but an exercise in semiotics: a reinterpretation of theworld. As Stanley Fish puts it, Bunyan’s work teaches us that “thetruth about the world is not to be found within its own confines orconfigurations, but from the vantage point of a perspective thattransforms it” (Self-consuming Artifacts, p. 237).

To understand fully The Pilgrim’s Progress, we must remember
that it was written in prison. Imprisonment is its major theme, and
escape from prison is its primary purpose. Although Bunyan was
without a doubt incarcerated in the literal, physical sense while
he composed his work, he did not believe that he was truly in jail.
He was convinced that, as Richard Lovelace had written in “To
Althea, from Prison” (1642), “Stone walls do not a prison make, /
Nor iron bars a cage,” andBunyanechoed the sentiment in his own
“Prison Meditations” (1665; quoted from The Works of John Bunyan,
edited byGeorgeOffor,vol. 1, p. 64; see “For Further
Reading”): 
　　I am, indeed, in prison now 
　　In body, but my mind 
　　Is free to study Christ, and how 
　　Unto me he is kind. 
　　For though men keep my outward man 
　　Within their locks and bars, 
　　Yet by the faith of Christ I can 
　　Mount higher than the stars. 
　　As far as Bunyan was concerned, the real prisoners were outside
the walls, in the world. The Pilgrim’s Progress aims to establish
two deeply counterintuitive propositions: that its author is not in
jail, and that its readers are. But while Bunyan argues that the
world is the prison of the soul, he also offers us a way to escape
from the world. The book’s subtitle, From This World to That Which
Is to Come, indicates our ultimate destination, but the world “to
come” is to be reached by a way not measurable in space or time.
The pilgrim’s progress is not a literal journey along a physical
road, but an exercise in semiotics: a reinterpretation of the
world. As Stanley Fish puts it, Bunyan’s work teaches us that “the
truth about the world is not to be found within its own confines or
configurations, but from the vantage point of a perspective that
transforms it” (Self-consuming Artifacts, p. 237). 
　　In the course of his journey the hero, named Christian, learns to
understand the world as an allegory. He comes to perceive his
experience as a series of signs that point toward nonmaterial,
spiritual referents, and this constitutes his liberation. But
before he can escape from prison, he must become aware that he is
in one. The progress toward an allegorical interpretation of
reality is simultaneously a process of alienation from the mundane
world of experience. The Pilgrim’s Progress shows us a man who
becomes a stranger to the world, to the extent of rejecting
empirical sense perception, as well as the laws, morality, and
behavioral standards of society. The first lesson Christian learns
after his conversion is that “Mr. Worldly Wiseman is an
alien.” 
　　Allegory has often been described as a suitable mode to represent
the alienated, objectified character of worldly experience. This
line of reasoning originates with Walter Benjamin’s seminal
analysis of the genre in The Origin of German Tragic Drama (1928).
Benjamin argues that allegory’s purpose is to teach us that the
experiential world—the “carnal” or “fleshly” dimension, in Bunyan’s
terms—is fallen into a disharmonious relation with its Creator:
“Allegory itself was sown by Christianity. For it was absolutely
decisive for this mode of thought that not only transitoriness, but
also guilt should seem evidently to have its home in the
province
　　……

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